Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Lebanon and from Lagos.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1979.
I'm losing my edge.
To all the kids in Paris and Spokane.
I'm losing my edge to the art-school Madrid kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the chamberlin sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Radiohead to the grunge kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Avey Tare. All the underground hits.
All Swell Maps tracks. I heard you have a vinyl of every Nick Fraelich record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Music Machine,
Unwound,
Ash Ra Tempel,
X-101,
Silicon Teens,
ABBA,
KRS-One,
Icehouse,
The Young Rascals,
Roxy Music,
The Remains,
Porter Ricks,
Darondo,
Lower 48,
Hasil Adkins,
The Barracudas,
Peter and Kerry,
Funky Four + One,
Shoche,
Orchestral Manoeuvres in the Dark,
The Gories,
The Count Five,
Ornette Coleman,
The Durutti Column,
Supertramp,
Sandy B,
Deutsch Amerikanische Freundschaft,
Monks,
Kerri Chandler,
Robert Görl,
Traffic Nightmare,
Teenage Jesus and the Jerks,
Soul II Soul,
Agent Orange,
Roger Hodgson,
Radio Birdman,
Marmalade,
Major Organ And The Adding Machine,
The Golliwogs,
Magma,
Hashim,
The Saints,
Eddi Front,
Sparks,
Lyres,
Chrome,
Notorious Big And Bone Thugs,
The Fugs,
Avey Tare's Slasher Flicks,
Pharaoh Sanders and the Fire Engines,
Underground Resistance,
Isaac Hayes,
Joy Division,
the Germs,
The Misunderstood,
Lakeside,
A Flock of Seagulls,
Marc Almond,
Wasted Youth,
Magazine,
Quando Quango,
Country Teasers,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.